Robert J

BW - oops - lack of coffee, you are right on the math ass-backwards there. I live in Oakville, west of Toronto. It's about 33 kms (20.5 miles - I know I got this one right) into the city each way. So say 66 kms per day. One fill up and a bit just to get to downtown Toronto, approx $54/week = $216 month in gas alone. Parking is about $20/day - if you are lucky about $300 month. Plus the aggrevation of a 1-1/2 hour drive not counting snow days. So its not that bad. I was working at home for the last 3 years up until a month ago, so I saved that extra $200 before. I get to read on the train, and I write about 2-3 longhand pages, so it's productive as well. When I stayed with relatives in Rye NY I saw that the monthly fare using the MTA Metro North Train for an equivalent distance to GCS was $197US.

Not much better in Canada. Today 86.5 cents/litre (86.5 x 3.79 [equivalent US gallon] = 3.28 cdn. At US exchange this is $3.99 US a gallon. Thankfully my wife and I train it in to work - though that costs $390@month for both. Still far less than driving.

I felt this same way when I joined the BNBB in 2000. Felt responsible for anything I might say that would make me look like a boob. Took awhile to graduate from lurker status. In fact I think I got shut down on one of my first posts for some factual error (those BN-ers were tough ). Kind of odd actually, since I now have things published by me on the web with my real name - many of them music related. Perhaps time to add the other 5 letters of the alphabet to my name here. (Though I guess it can be inferred if you hover over my avatar signature). Getting back to the original post. I can vouch for Ted. He brings a wealth of information to this board with his broadcasting, recording and publishing experience. Check his (brief but meaty) webpage on his profile.

The YH trio album. Never understood the title

I can also say this. My dad had a few of the albums, including the maligned Beatles one (it's not that bad, there's more electric piano on it if I recall). I had a specific year of RL that in retrospective, maybe changed me more than I thought. When I was 15 and moving away from my mullet and metal collection, Ramsey Lewis, Oscar Peterson and the MJQ were my turning points. But mostly Lewis. I also had the Chess set, and another collection on LP that had a picture of him with his family - like a portrait. I also worked hard to learn the In Crowd solo. I remember even having the balls to play it for some event at my YMCA. In fact my dad has - and I have it somewher - a sheet music collection of RL, which helped my transcriptions. I just loved that funky blues sound he got. I also remember going to a leadership training camp in northern Ontario for 2 weeks - I was later a camp counsellor elsewhere. There were some camps of the Christian Right persuasion represented there that abhorred this long-hair playing jazz until I pulled out a funky Wade in the Water, a la Ramsey. And then they surrounded my piano and started singing. That's an odd memory! While I don't think he's the greatest pianist out there, and I haven't pulled out one of his records in a long time, I think he has a historical significance. The long version of the In Crowd still has a great fun vibe. I love how they bring the volume down to a whisper at the end and then back up again. Very effective. I have a copy of the Young/Holt trio featuring the RL rythym section and with capable pianist Hysear Don Walker - whatever happened to him?

Awesome news guys! Greg - What about Toronto? Joey's here all the time, as his touring guitarist Jake Langley is from Toronto. I believe the next gig is in May at the "Mod Club" where Joey's played before. I can drum up the support no prob for Organissimo in Canada!

Have a good one. Fill yer cup.

It's keberobeats88 - I think a reference to the Herbie Hancock/Bill Laswell "Future 2 Future" recording. Still, beets are good for you, and you can't make borscht without em.

I recently revisted that album - More - and I agree with you. There's some excellent work on that album and some decent acoustic work by Gilmour. Jim - there's some wacky B3 moments on More as well, like the Wright/Mason duet. Speaking of Gilmour, I used to think highly of this album, but have not heard it in awhile.

Wasn't there a troll on the BNBB that kept going on about some heavy metal stuff all the time, I think in the musician's forum, or am I thinking of something else?

Mission Statement - A statement of the role, or purpose, by which an organization intends to serve its stakeholders. Describes what the organization does (current capabilities), who it serves (stakeholders), and what makes the organization unique (justification for existence). Mission statements always exist at the top level of an organization, but may also be set for different organizational levels or components. Organissimo is not a corporation! Jim spelled it out here

The piano player is Tad Weed.

So Aric's boot-out was the defining ratings moment?

Anyone ever save Joe's imaginary recreation of Aric's phone conversation with Hank Mobley, from the old BNBB?

History repeats itself. To quote Tomatbluenote from the old BNBB before Aric got banned there: "I am saddened and disgusted by the continued abasements by Aric and the resultant fouling of our fine board. Folks, enough is enough. Enough rope has been given and I am afraid that Mr. Effron has hoisted himself high on the gibbet... Aric, you are more than welcome to develop an ariceffron.com site as a playground for your passionate yet misguided mind."

Oh Man don't go there!

I'm listening to Junior Mance right now as I write about Canadian income trusts

Thanks Lon! Didn't know about this archive. Will make the work day all that much better

Jazz Kat is too young to remember the BNBB

NEW YORK, March 15 /PRNewswire/ -- Detroit, Los Angeles, Kansas City, New Orleans, Philadelphia and Pittsburgh, and the significant impact these cities had on the development of jazz in America, will be the theme of Jazz at Lincoln Center's 2005-06 season entitled "Jazz from Coast to Coast." The not- for- profit organization dedicated to jazz continues to celebrate its new home, Frederick P. Rose Hall, at Broadway at 60th St. in New York City. Through concerts, educational programming and tours, the organization will honor these cities and their musicians who were important contributors to the art form. "As we strive to establish a greater rapport with our audiences in the House of Swing, our new season is designed to welcome musicians and fans from all over the U.S," said Wynton Marsalis, Artistic Director of Jazz at Lincoln Center. "Born in New Orleans, jazz music grew up in many important American cities. And even though almost everyone loves their home town, ultimately the most ambitious musicians brought their sounds and styles to New York. Jazz musicians nick-named New York the 'Big Apple.' They made New York swing. The sheer human complexity of Manhattan gave jazz a sophistication and toughness that served it well as it became an international artistic phenomenon. That's why the Apple is considered to be the capital of jazz. Yes, we love New York, but let's not forget the importance of those tributary cities that gave and continue to give this music a truly national foundation." He continued, "with pleasure, we present the music of elder statesmen and young fresh faces alike. We'll have 82-year-old Frank Wess, 18- year-old Eldar Djangirov, 51-year-old Bobby Watson and some first-class barbecue in the club to celebrate Kansas City. With entertaining educational programs, concerts and exhibits, we will create a festive atmosphere around a constellation of performances that feature the music of artists in and from New Orleans, Los Angeles, Detroit, Pittsburgh and Philadelphia. I'm talking about great people like Ron Carter, Yusef Lateef, Gerald Wilson, Jimmy Heath, Regina Carter, Jeff "Tain" Watts and Barry Harris. We plan on having a great time. We welcome you to join us." "The opening of Jazz at Lincoln Center's new home - Frederick P. Rose Hall - has enhanced the country's artistic landscape with significant effect and to international acclaim. We intend to continue our contribution to American culture in that tradition with our 2005-2006 season," said Derek E. Gordon, president and CEO of Jazz at Lincoln Center. "Our organization will celebrate this vital music by recognizing the great American cities where the masters of jazz were born or achieved fame," he continued. "All roads lead to New York, but it takes a nation to truly represent the art form of jazz. As each stream flows into the growing strength of the river, so Jazz at Lincoln Center adds to the positive forward momentum of jazz music. Our culture and this music are enriched by the regional influences of the cities where jazz was nurtured. Bringing it all together in the great city of New York will only heighten the creativity." Throughout the 2005-06 season, the Lincoln Center Jazz Orchestra with Wynton Marsalis and special guests will perform in the following festivals and concerts in Rose Theater. * Kansas City: KC and the Count will capture Kansas City's orchestral jazz that was influenced by the area's strong traditions of ragtime and blues. This series will feature the Lincoln Center Jazz Orchestra performing the works of Count Basie, Jay McShann, Bennie Moten, Bob Brookmeyer, Eddie Durham and Walter Page's Blue Devils. Special guests Frank Wess (saxophone) and Eldar Djangirov (piano) will join the resident orchestra on these evenings. * Detroit: Motor City Jazz will highlight the city's bebop revolution as well as celebrate the piano and bass legends. The orchestra will perform original music as well as works of Milt Jackson and Kenny Burrell with two legends of the Detroit scene, Marcus Belgrave (trumpet) and Ron Carter (bass). Curtis Fuller (trombone), Charles McPherson (alto saxophone) and Yusef Lateef (tenor saxophone, flute and oboe) will also appear as special guests. * Pittsburgh: From the Heart of Steeltown will focus on the city's long history in jazz and the many famous musicians from Pittsburgh. Joined by special guests Jeff "Tain" Watts (drums) and Steve Nelson (vibraphone), the Lincoln Center Jazz Orchestra will perform the music of Pittsburgh's sons and daughters including Billy Strayhorn, Art Blakey and Mary Lou Williams. * The first half of New Orleans: Congo Square will showcase the style of collective ensemble and the emphasis on swing in New Orleans jazz. The Lincoln Center Jazz Orchestra will perform the music of Jelly Roll Morton, Sam Morgan, Joe Robicheaux, Clyde Kerr and others. The second half will consist of a new commission with Yacub Addy and Odadaa! based upon the legendary Congo Square, the birthplace of jazz. * Los Angeles will demonstrate the jazz style that emerged in the 1940s called "cool" and gained popularity in the 1950s through film scores and soundtracks. The Lincoln Center Jazz Orchestra will perform the music and arrangements of Bill Holman, Gerry Mulligan, Duke Pearson, Charles Mingus, Quincy Jones and others with special guests Plas Johnson (saxophone) and Gerald Wilson (composer and bandleader). Resident ensemble Afro-Latin Jazz Orchestra with Arturo O'Farrill will perform a series of collaborations in Rose Theater. In Jazz Con Salsa, straight-ahead jazz artists including Joe Lovano and Greg Osby will be paired with the clave of the Latin big band. Jazz In Motion featuring the Afro-Latin Jazz Orchestra with Ballet Hispanico will be the band's first collaboration with a dance company. !Bajo! The Great Tradition of the Latin Bass will be a highlight of the season wherein the big band will present a concert featuring bass players including Israel "Cachao" Lopez, Andy Gonzalez, the Afro-Latin Jazz Orchestra's own Ruben Rodriguez and Charnett Moffett. The "Jazz from Coast to Coast" season will also include new collaborations including a Wynton Marsalis commission in honor of philanthropist Irene Diamond, written for jazz quartet, and the Orion String Quartet and Tappin' Into Monk will feature Savion Glover tap dancing to the musical styles of Thelonious Monk. In addition to these concerts, Jazz at Lincoln Center is thrilled to host Music of Wynton Marsalis -- 25 Years On the Scene, a retrospective and celebration featuring guest artists, combos and a string orchestra. Other highlights of the new season include: * The vibrant Red Hot Holiday Stomp featuring Wynton Marsalis, Wycliffe Gordon and others. * Philadelphia: City of Brotherly Jazz will highlight major jazz artists and organists who represent the Philadelphia jazz style. Jimmy Heath, Joey DeFrancesco and Pat Martino will perform the works of Lee Morgan, Jimmy Smith, Bobby Durham, Mickey Roker and Benny Golson. * Great American Songwriters series featuring artists including Bill Charlap, Ethel Ennis, Houston Person, Kenny Washington and Peter Washington. * Music of the Masters: Stanley Turrentine -- featuring Eric Alexander, Gene Ludwig, Grady Tate, Robert Stewart and Dave Stryker. * The Singers Over Manhattan series featuring today's best jazz singers on the scene including Carla Cook, Miguel Poveda, Tierney Sutton and Loston Harris. * Valentine's Day concert featuring Dee Dee Bridgewater. * Lincoln Center Jazz Orchestra members, in small combo configurations, will play original songs with all-star rhythm sections led by Mulgrew Miller and Cyrus Chestnut. Dizzy's Club Coca-Cola will also honor the jazz music of many cities -- from Los Angeles, California, to Cadiz, Spain -- and many generations and genres of swinging jazz styles and players -- from young pianist Robert Glasper to Jessica Williams and Chano Dominguez to Bobby Hutcherson and Lou Donaldson to the Juilliard Jazz Ensembles. Besides featuring the cultural traditions of jazz hotbeds such as Kansas City, Detroit, and Philadelphia, Dizzy's Club Coca-Cola will also regularly highlight the contributions of women in jazz including Toshiko Akiyoshi, Geri Allen, Eliane Elias, Renee Rosnes and Maria Schneider. Young jazz talent from area colleges and universities will continue to be featured during UPSTARTS! on Monday nights and during late night after hours programming.

Thanks Jim, I thought as much. Just doing some armchair ideas while at work. Like that Eurorack UB802, and inexpensive too. Like the stick on amp too, kind of sexy. Or I could go to Radio Shack. http://www.ee.washington.edu/circuit_archi...its/micamp.html

I have an older NAD receiver that has a built-in preamp for phono (turntable). Can I use this as a mike-preamp, or is the boost too high? I am looking at recording my acoustic piano. (excuse me if this sounds like a dumb question)

I know I've memorized a lot of tunes, but franky some of the time I still open a real book, or something with the changes when I am in a performance setting. It's a habit I'd like to change before I die at least. The odd thing is I barely look at the sheet music, but knowing it's there comforts me. Not sure what to make of that - lack of confidence or whatever. Another thing I've observed when I practice sort of free for all is I improv better when I have a page of any sheet music in front of me. I think it focusses me. Related story - I once played a solo gig at one of the best jazz clubs in Toronto. It was a tie-in - Canadian author was doing a book launch/reading there, his book was called Barrelhouse Kings. So I did a couple of sets before and after the reading. I was plenty nervous because I had no set tunes, just was going to play barrelhouse and the blues. There were lots of people there, TV crew, the author himself knew Otis Spann, etc. Luckily it was an awesome piano - 9 foot Yamaha. My first few tunes went by nervously and then I looked in my bag and I had only the lead sheet for Lady be Good. I put it in front of me and just stared at it and I had no problem the rest of the night improvising the sets. It was like that sheet focussed my attention.